By Stephen Citron
The 1st in-depth biography of the distinguished composer/lyricist who created hi, Dolly!, Mame, and los angeles Cage aux FollesThis revealing and complete e-book tells the complete tale of Jerry Herman’s existence and occupation, from his early paintings in cabaret to his contemporary compositions for level, display, and television.Stephen Citron attracts on broad open-ended interviews with Jerry Herman in addition to with ratings of his theatrical colleagues, collaborators, and shut neighbors. The ensuing book—which sheds new gentle on every one of Herman’s musicals and their scores—abounds in attention-grabbing anecdotes and behind-the-scenes information about the realm of musical theater. Readers will discover a sharply drawn portrait of Herman’s deepest existence and his inventive abilities. Citron’s insights into Herman’s tune and lyrics, together with voluminous examples from each one of his musicals, are as instructive as they're edifying and entertaining.Stephen Citron is widely known for laying off clean gentle at the American musical theater and the artists who inhabit it. His prior books comprise Songwriting, The Musical from the interior Out, and biographies of No?l Coward, Cole Porter, Alan Jay Lerner, Oscar Hammerstein second, Stephen Sondheim, and Andrew Lloyd Webber.
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Extra resources for Jerry Herman: Poet of the Showtune
Sample text
Herman originated those wide skips to dissonant landings, a technique later borrowed by Cy Coleman and John Kander. COLLEGE AND BEYOND G 9(+5) &C Œ ˙ There show D9 & w ˙. is no œ w Œ ˙ w tune as G7 9 bœ & ˙. & ˙. œ C6 # Dm cit C6 - œ ex - CMaj7 w ∑ Œ ing œ 39 w Œ w tune ˙ #œ as a ˙ œ in A m7sus4 D9 w w two - four to a party every night. People came in and I played for them. ”15 In 1957, when Herman had been working the lounge for more than a year and the upstairs show was Rick Besoyan’s popular In Your Hat, Besoyan and Eilers decided to expand one of its most successful sketches to a full evening-length show.
16 The show chalked up a most respectable two-year run. Watts’s rave was enough to bring the uptown crowd down to The Showplace to see what all the furor was about. In his memoir Jerry tells a story about trying to shoo away the people he thought were waiting to get into the restaurant next door. He was angry with them for blocking the show’s advertising billboards he had designed. 17 “There was never a slow night,” Eilers remembered. ” Eilers marketed the show cleverly. Since customers hesitate to enter a cabaret unless it is somewhat crowded, he had life-size cardboard silhouettes made to give the appearance to passersby that there were people at each table.
For weeks after he saw that show he would go to the piano and play selections from the score. “They Say That Falling in Love Is Wonderful” and “I Got Lost in His Arms” were his favorites. Eventually he was able to master “There’s No Business Like Show Business,” performing it more fluently than his mother played it from the sheet music. “I didn’t think it was anything terribly special,” he says, “because, when you can do something and it’s easy and it’s fun, you don’t realize that you have that special gift.